William Kentridge

Artist whose powerfully political animation, sculpture and drawing also extends into performance and opera

It’s hard to keep up with Kentridge, who’s been working on events, operas, exhibitions and long-term installations globally this past year. He’s had gallery exhibitions in Berlin, Milan, Paris and New York, and significant shows at SFMOMA and the Cincinnati Art Museum, while his Thick Time exhibition toured from the Whitechapel Gallery, London, to the Museum der Moderne Salzburg and the Louisiana Museum, in Denmark. All this alongside taking part in festivals in Athens and Johannesburg, and creating a temporary riverside mural in Rome. Kentridge’s sketchy, fragmented examination of history’s underbelly is reaching more than just art audiences; his stage direction and set design for celebrated productions of Alban Berg’s Wozzeck (1925) and Lulu (1937) currently tour the globe. And if all that wasn’t enough, the artist also set up The Centre for the Less Good Idea – an art foundation in Johannesburg that provides a ‘safe space for uncertainty, doubt, stupidity and, at times, failure’.